Camerata Bachiensis

Members

Roberto De Franceschi - baroque oboe and baroque flute
Anne Kaun - baroque violin and viola
Magdalena Schenk-Bader - baroque violin and viola
Irene Liebau - baroque cello
Julia Chmielewska-Ulbrich - historical keyboard instruments

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Established in 2012, Camerata Bachiensis is an early music ensemble based in Leipzig, Germany. Performing on period instruments, the group strives to offer historically-informed performances that preserve a dynamic, personal and spontaneous approach to early music-making.

Camerata Bachiensis's repertoire consists primarily of 18th-century sacred and chamber music written by Central German composers who were either connected with J.S. Bach or influenced by local music traditions. Discovering and performing the forgotten or unknown music of both famous and lesser-known composers is an important goal for the ensemble; as a result, conducting research in libraries and archives - especially in the regions of Central Germany and Berlin - is an indispensable part of their work together.

Thanks to their flexible instrumentation, Camerata Bachiensis offers repertoire ranging from trio sonatas to orchestral works and cantatas, emphasising variety and colour in their musical programmes.

The ensemble has given concerts at important early music festivals, including Bachfest LeipzigGöttingen International Handel Festival and Telemann-Festtage Magdeburg. In addition to its main activities in Germany, the group has performed in France, the Netherlands, Poland, the Czech Republic and Slovenia.

Camerata Bachiensis has garnered major recognition from numerous early music competitions. Since winning the 7th International Telemann Competition (Magdeburg, Germany) and the 1st International "Premio Selifa" (S. Ginesio, Italy) in 2013, the ensemble has earned further accolades at the 6th International Graun Brothers Competition 2013 (Bad Liebenwerda, Germany), the International Van Wassenaer Concours 2014 (Utrecht, the Netherlands) and the Göttinger Reihe Historischer Musik 2014/2015 (Göttingen, Germany). In 2015 the group was selected for the eeemerging European Ensembles programme.

For the 2016/2017 season, the Bach Museum Leipzig chose Camerata Bachiensis as its Ensemble in Residence. The group's first CD, featuring world-premiere recordings of music by Johann Melchior Molter, was released in 2016 by the Dutch label Brilliant Classics.

Francesca Placanica

Francesca Placanica studied opera and classical vocal repertoires with Laura Sarti, Nelly Miricioiou, Dale Dietert and Richard Wistreich, and opera acting with Italo Nunziata, Maria Luisa Bigai, Marciem Bazell, Hank Hammett; lately theatre acting techniques with Pamela Karantonis and Benjamin Spatz at the Centre for Psychophysical Performance Research at Huddersfield University. She won the International Solo Voice Competition Seghizzi (2007) in the Category “George Gershwin” and graduated from musical institutions from Italy, UK, USA. Theatre works include Jenny Diver in The Threepenny Opera, Witch in the world premiere of The History of Rapunzel by Simon Sargon, Ottavia in The Coronation of Poppea with the Meadows Opera Ensemble Dallas, Despina in Cosi fan tutte at Nuffield Theatre Southampton, Qen at Soho Theatre London in the musical Seventh Time Around (2011). She performs extensively as a chamber recitalist soloist in Europe (including Switzerland and UK), Canada, USA. A PhD holder from University of Southampton and a twentieth-century vocal performance scholar, she is currently an artistic research fellow at Maynooth University, where she is the Principal Investigator of her IRC funded “En-Gendering Monodrama: Artistic Research and Experimental Production” (2015–17. Her monodramatic productions, which she manages as producer and performer (La Voix humaine, Neither, Erwartung, Monodrama I), are due to tour Ireland and the UK in 2017 and 2018 as outputs of her project. For more information, please visit: www.francescaplacanica.com.

Sarah Groser

Sarah Groser first played the viol as a nine year old when her father lent her one to keep her happy while she was waiting to start on the cello. She didn’t play a viol again until her late teens when she heard a viol consort and fell in love with the sound of viols playing together.

At Manchester University she was able to study both baroque cello and viol with Charles Medlam, then went on to Rotterdam Conservatorium to study baroque cello with Jaap ter Linden.

Since her studies Sarah has concentrated on the viol and more recently the violone. She has been a member of the Rose Consort of Viols for fifteen years, Sonnerie for three years and has worked with many other ensembles including Fretwork, Charivari Agreable, London Baroque and the Dowland Consort.

In 2001 Sarah moved from England to West Cork with her daughter Gracie. Since then she has performed in Ireland with The Little Concert, Castalia, the Orchestra of St. Cecilia, and with Sarah Cunningham and Tara Brandel at the East Cork Early Music Festival.

Reiko Ichise

Born in Tokyo, Reiko Ichise moved to London in 1991 to study viol at the Royal College of Music. She is now one of the country‘s leading viola da gamba players, working and recording regularly across the world with many prestigious ensembles including Fretwork, The Purcell Quartet, Florilegium, the Gabrieli Consort, Early Opera Company, English Chamber Orchestra, Concordia and The Royal Ballet.

“The musical highlights of Florilegium’s programme were actually the breathtaking virtuoso solo viola (da gamba) playing of Reiko Ichise in a suite by Marin Marais,…” Michael Dervan, Irish Times, Sligo Festival of Baroque Music 2011

Colin Booth

Colin Booth has been a harpsichordist and harpsichord-maker for more than 30 years. As a maker, he has more than 300 customers to his credit, including a large number of Early Music professionals. As a harpsichordist, Colin has performed in many countries, from Denmark to South Africa. He taught and played for 25 years at the Dartington International Summer School and provides continuo for several leading orchestras. Colin has recorded 12 CDs of solo harpsichord music. His book Did Bach Really Mean That? is an investigation of Baroque notation, providing a highly readable guide for all who are keen on playing early keyboard music, whatever their chosen instrument. To accompany the book, Colin recorded Bach’s Goldberg Variations, which received enthusiastic reviews:

For me this recording stands out in a crowded field. Noel O’Regan. Early Music Review, August 2011.

More recently Colin acquired an original early French harpsichord dated 1661, from an owner in Cork, Ireland, and restored it the following year. Two CDs have now been recorded on it. The first, Grounds for Pleasure, focussed on the Ground (a repeated bass line, popular as a musical form in 17th-century England) and has received six enthusiastic reviews, including Early Music and Gramophone. His latest release is of music by the early French master Louis Couperin, who died in the very year in which the instrument was made.

Joowon Chung

Soprano Joowon Chung was born in South Korea. She joined the Children’s Choir at the age of 10 and this turned on her interest on music. She studied singing at Seoul National University (with Prof. Hyunju Yoon) and then moved to Germany to carry on her graduate studies at the Hochschule für Musik Dresden (with Prof. Christiane Hossfeld, Lied class with Prof. Christine Hesse). After developing a special interest in historical performance practice, she graduated in early music singing with Gundula Anders at the Hochschule für Musik Leipzig. Ms. Chung was invited to perform in many festivals, like Bachfest Leipzig, Grandezze e Meraviglie Modena, Mendelssohn Festtage Leipzig, Musikfest Erzgebirge, Händelfestspiele Göttingen, Bachakademie Stuttgart. She has also appeared with many early music ensembles, like Akademie für Alte Musik Berlin, Collegium Vocale Gent, Bach Consort Wien, Camerata Bachiensis, ensemble polyharmonique, Gesualdo Consort, Oltremontano, Michaelis Consort. In 2013 she received the 1st prize at the international church music singing competition "cantateBach!" in Greifswald, Germany.

Sligo Baroque Orchestra

Sligo Baroque Orchestra began life as Sligo Early Music Ensemble in 1990 at a time when classical instrumental music in Sligo was almost non-existent.

Its aim was playing music from the seventeenth and eighteenth centuries in a historically informed manner and for twenty years it has maintained that goal, meeting for weekly rehearsals, exploring hundreds of baroque compositions, holding workshops and giving more than a hundred performances in Sligo and the North West.

The orchestra is markedly inclusive, involving much sought-after professional musicians as well as amateur and student instrumentalists, and including members from very different musical backgrounds.

The sbo has been joined by eminent soloists including cellist Stephan Forck, viola player Stefan Fehlandt, flautists Elisabeth Gillan, Isabelle Herold and Eleanor Dawson, gamba player Sarah Groser and violinists Niamh Crowley, Therese Timoney and Nicola Cleary.

During the last twelve months the sbo has collaborated with modern dance ensemble Hereinafter Dance Company with African band Tropicana Musica and has performed pieces composed for the orchestra by Steve Wickham and student composer Ferdia Durkin as well as performing works from the more usual baroque repertoire.